マンガの世界 グローバリゼーション理論再訪
日本はグローバルな文化生産の主要な結節点へと急速になっている。アニメ・コミック・映画・音楽・テレビ番組など日本の文化的産物の多くは, 国内消費のために創られてきた (ローカリゼーション)。グローバリゼーションを明示するようなヨーロッパや北米へのこうした日本の文化的産物の輸出の増大は, 単なる西欧的価値観の保持ではなく日本的要素を組み入れている (ロー・グローバリゼーション)。日本はこうした分核化したグローバリゼーションの一部となり, 一転して文化的産物をアジアへも輸出している (グローカリゼーション)。しかしながら, 韓国・香港・台湾はローカルな文化製品を日本へ輸出している (ローカリゼーショ...
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| Published in | 人文地理 Vol. 56; no. 6; pp. 565 - 586 |
|---|---|
| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
一般社団法人 人文地理学会
28.12.2004
|
| Subjects | |
| Online Access | Get full text |
| ISSN | 0018-7216 1883-4086 |
| DOI | 10.4200/jjhg1948.56.565 |
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| Abstract | 日本はグローバルな文化生産の主要な結節点へと急速になっている。アニメ・コミック・映画・音楽・テレビ番組など日本の文化的産物の多くは, 国内消費のために創られてきた (ローカリゼーション)。グローバリゼーションを明示するようなヨーロッパや北米へのこうした日本の文化的産物の輸出の増大は, 単なる西欧的価値観の保持ではなく日本的要素を組み入れている (ロー・グローバリゼーション)。日本はこうした分核化したグローバリゼーションの一部となり, 一転して文化的産物をアジアへも輸出している (グローカリゼーション)。しかしながら, 韓国・香港・台湾はローカルな文化製品を日本へ輸出している (ローカリゼーションか?)。以上のような展開は, 次のような一連の論点を浮かび上がらせている。ローカルな日本の文化的産物は, どのように始まり時間を経て変化してきたのか。日本の文化的産物は, どのようにうまく西欧文化へ普及し入り込んだのか。日本が, なぜアジアへの文化的産物の輸出における遅参者なのか。韓国・香港・台湾や他のアジア諸国から日本への文化的産物の輸出という逆流過程を, どのように理論化するのか。これらの論点を, 特に日本のコミック (マンガ) に焦点をおいて, その起源と変質, グローバル市場への輸出, アジアへの遅れた輸出の理由, アジアから日本へのコミックの逆流入, を検討し論じる。 |
|---|---|
| AbstractList | 日本はグローバルな文化生産の主要な結節点へと急速になっている。アニメ・コミック・映画・音楽・テレビ番組など日本の文化的産物の多くは, 国内消費のために創られてきた (ローカリゼーション)。グローバリゼーションを明示するようなヨーロッパや北米へのこうした日本の文化的産物の輸出の増大は, 単なる西欧的価値観の保持ではなく日本的要素を組み入れている (ロー・グローバリゼーション)。日本はこうした分核化したグローバリゼーションの一部となり, 一転して文化的産物をアジアへも輸出している (グローカリゼーション)。しかしながら, 韓国・香港・台湾はローカルな文化製品を日本へ輸出している (ローカリゼーションか?)。以上のような展開は, 次のような一連の論点を浮かび上がらせている。ローカルな日本の文化的産物は, どのように始まり時間を経て変化してきたのか。日本の文化的産物は, どのようにうまく西欧文化へ普及し入り込んだのか。日本が, なぜアジアへの文化的産物の輸出における遅参者なのか。韓国・香港・台湾や他のアジア諸国から日本への文化的産物の輸出という逆流過程を, どのように理論化するのか。これらの論点を, 特に日本のコミック (マンガ) に焦点をおいて, その起源と変質, グローバル市場への輸出, アジアへの遅れた輸出の理由, アジアから日本へのコミックの逆流入, を検討し論じる。 |
| Author | リンマー・, ピーター・J |
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(updated paperback edition 2003). 70) Rhie, Won-bok, Korea Unmasked: In Search of the Country, the Society and the People, trans. By Jung Un and Louis Choi, Seoul, Gimm-Young Publishers Inc., 2002. (4) op. cit., 3) (2 22) op. cit., 10) and 14 |
| References_xml | – reference: 57) op. cit., 3) (2). – reference: 21) op. cit., 11) – reference: 62) Iwabuchi K., Returning to Asia: Japan in the cultural dynamics of globalisation, localisation and Asianisation, PhD thesis 1999, University of Western Sydney. – reference: 47) Kondoh, R., Personal communications, 9 and 12 August 2004. – reference: 9) (1) Schodt, F.L., Manga! Manga! The World of Japanese Comics, New York, Kodansha International, 1983. (updated paperback edition 2003). – reference: 28) op. cit., 6) pp. 68-72. – reference: 17) op. cit., 10) p. 3. – reference: 24) Morris-Suzuki, T. and Rimmer, P. J., 'Virtual memories: Japanese history debate in Manga and Cyberspace', Asian Studies Review, 26 (2), 2002. pp. 147-164. – reference: 56) op. cit., 38). – reference: 50) Terada Shinichi, Japan's booming pop culture: animated cartoons become big Japanese business, CBS Market Watch. http://cbs.marketwatch.com/news/story.asp?guid=%7B7A29833D-242B-4826-967CCD1A51C81778%7D&siteid=google&dist=googl 2003. – reference: 65) op, cit., 61). – reference: 75) op, cit., 11). – reference: 31) op. cit., 13) (5). – reference: 36) (1) Groensteen, T., L'univers des mangas: Une introduction a la bande dessinee japonaise, Paris, Casterman, 1991. – reference: 20) Kinsella, S. 'Amateur manga subculture and the otaku panic', Journal of Japanese Studies, 24 (2), 1998, pp. 289-296. – reference: 61) Ponchamni, Rop, 'Future possibilities of comics in Thailand', ABD [Asian/Pacific Book Development], 34 (1) 2003, pp. 10-11 [Quarterly published by Asia/Pacific Cultural Centre for UNESCO]. – reference: 72) Williams, D., Japan and the Enemies of Open Political Science, Routledge, London and New York. 1996. – reference: 68) op. cit.,11). – reference: 22) op. cit., 10) and 14) – reference: 69) Yoo J., 'Trends in Korean comic publishing', Special Issue on the World of Asian Comics, ABD[Asian/Pacific Book Development] 34 (1), 2003, pp. 8-9 [Quarterly published by Asia/Pacific Cultural Centre for UNESCO]. – reference: 39) Mixx, nd. The rise and fall (?) of Mixx. http://www.geocities.com/d-patanella/mixx.htm – reference: 38) Yamada, M., Okada, S. and Ohkoshi T., 'The cutting edge of cool', Asia-Pacific Perspectives, 2 (1), 2004 pp. 6-23. – reference: 37) Chiba H., 2002. 'Cool Japan', Look Japan. http://www.lookjapan.com/LBcoverstory/o3MayCS.htm – reference: 64) op. cit., 13) (2). – reference: 76) JEI, Welcome to Manga Town, Trends in Japan, Japan Echo Inc. 1999. http://web-japan.org/trends00/honbun/tj990624.html. – reference: (5) Natsume F., 'Japanese manga encounter the world', Japan Echo, 29, 2002, pp. 62-66. – reference: 74) (1)Rimmer, P.J., 'Osaka-Kansai: The classic national second-city region in a 'global information age', in Institute for Economic Research, 21st Century Asia: Economic Restructuring and Challenges of Mega-cities, Institute for Economic Research, Osaka City University, 2001. p. 243. – reference: 11) Gravett, P., Manga: Sixty Years of Japanese Comics, London, Laurence King Publishing, 2004. – reference: (4) op. cit., 3) (2) – reference: 12) (1) Thorn, M. 'Shôjo manga-something for the girls', The Japan Quarterly, 48 (1), pp. 43-50. http://www.matt-thorn.com/shoujo-manga/japan-quarterly, 2001. – reference: 49) Ashby, J., 'Manga culture ignites craze in market overseas', The Japan Times, 24 August 2003. http://www.japantimes.co.jp/egi-bin/getarticle.p15ek20030814br.htm – reference: 4) (1)Levi, A., Samurai from Outer Space: Understanding Japanese Automation, Chicago and La Salle, Ill., Open Court, 1996. – reference: 27) op. cit., 6) p. 20. – reference: 19) op. cit., 10) p. 110. – reference: 30) S.K. Mehra, 'Copyright control, and comics: Japanese battle over downstream limits on content', Rutgers Law Review, Fall, 2003, pp. 1-36. Available from Westlaw 56 Rutgers L. Rev181). – reference: 8) Kardy, G. ed., Manga University: 1-C Background Collection Workbook #3: Japanese Neighborhoods, Kawaguchi City, Saitama, Japanime Co. Ltd., 2003. – reference: (3) Natsume F., 'Japan's manga culture', The Japan Foundation Newsletter, 27 (3-4): 2000, pp. 1-6. – reference: 53) op. cit., 42). – reference: 78) op. cit., 55). – reference: 59) FB, Frédéric Boilet-Biography. http://www.boilet.net/am/biographie.html, 2004. – reference: 10) Kinsella, S., Adult Manga Subculture and Power in Contemporary Japanese Society, Richmond, Surrey, Curzon, 2000. – reference: 70) Rhie, Won-bok, Korea Unmasked: In Search of the Country, the Society and the People, trans. By Jung Un and Louis Choi, Seoul, Gimm-Young Publishers Inc., 2002. – reference: 67) Wong, Siuyi, W., Hong Kong Comics: A History of Manhua, Princeton Architectural Press. 2002. – reference: 29) ICV2, Manga sales slump in Japan, March 28 2003, http://www.icv2.com/articles/home2540.html – reference: 66) DYO, China looking to imitate Japanese Manga, The Daily Yomiuri Online, 2004. http://www.laibcoms.com/index.php/news/3 – reference: 5) OTMM, The Osamu Tezuka Manga Museum. http://www.city.takarazuka.hyogo.jp/tzuka/index.htm, 2004. – reference: 26) Shiroma, R., Usenet Manga Magazines Guide: Supplement (Version 2.20) last updated 12 February 1995. http://www.users.skynet.be/mangaguide/magazines.html, 1995. – reference: 60) op. cit., 42). – reference: 13) (1) Natsume, F., 'Look back in manga', Look Japan, 42 (No. 491), pp. 20-21, 1997. – reference: 16) op. cit., 11). – reference: 71) Lau Kwok Wah, 'Introduction', in Lau, K. W. (ed.), Multiple Modernities: Cinemas and Popular Media, in Transcultural East Asia, Philadelphia, Temple University Press, 2003. p. 2. – reference: 54) Fowler, G.A., Animation: Japan's world beaters', Far Eastern Economic Review, January 22 2004, 2004, pp. 48-49. – reference: (2) op. cit., 6). – reference: 42) De Boer, J., 'Why America thinks Japan's cool', US Report #9 March 2 2004, Glocom Platform, Japanese Institute of Global Communications. http://www.glocom.org/special_topics/us_report/20040302_usreport_s9/-23k-31Jul 2004. – reference: 77) Nye, J.S. 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TokyoPop takes Japanese comics to television, Pulp Culture Productions. http://www.franklin@pulpculture.net – reference: 48) Lewis, D., 'Unlikely ambassadors: The surprising appeal of manga overseas', The Japan Foundation Newsletter, 27 (3-4), 2002, pp. 7-11. – reference: 1) Barber, B.R. Jihad vs. McWorld: Terrorism's Challenge to Democracy, New York, Ballantine Books, 2001. – reference: 15) op. cit., 9) (1). – reference: 3) (1) McCloud, S. 1994. 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| Snippet | 日本はグローバルな文化生産の主要な結節点へと急速になっている。アニメ・コミック・映画・音楽・テレビ番組など日本の文化的産物の多くは, 国内消費のために創られてきた (ローカリゼーション)。グローバリゼーションを明示するようなヨーロッパや北米へのこうした日本の文化的産物の輸出の増大は,... |
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| Subtitle | グローバリゼーション理論再訪 |
| Title | マンガの世界 |
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